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Showing posts with label Literature. Show all posts
Showing posts with label Literature. Show all posts

Thursday, April 11, 2024

Call for papers: "History and Memory: Epistemological Reinterpretation of #Africa's #Past in a #Post_Colonial Context" -Práticas da História: Journal on #Theory, #Historiography and Uses of the Past (#SCOPUS, Open Access)

 Call for papers for Práticas da História: Journal on Theory, Historiography and Uses of the Past (SCOPUS, Open Access)

 

Theme: History and Memory: Epistemological Reinterpretation of Africa's Past in a Post-Colonial Context

Editors: João Pedro Lourenço (Instituto Superior de Ciências da Educação de Luanda), Maria da Conceição Neto (Universidade Agostinho Neto)

 

The extraordinary advances in historiography on Africa and in Africa in the 60s and 70s of the twentieth century, running parallel to the contestation and end of colonial empires, were not accompanied by an equivalent pace of transformation in the teaching of history in African countries, in terms of theories, methods and organization of content to be transmitted. After several decades, the distance remains between the "decolonizing" effort in historiography, with some success, and the way history is taught to young Africans, still reflecting a Eurocentric vision of the history of humankind, whether in periodization or in selection of the most relevant themes. In general, the history of Africa continues to be studied in a fragmented way, with little emphasis on its connections with world history, in which it only appears fully integrated with (as a result of) European expansion and subsequent colonization. Despite the now classic reference to the continent as the "cradle of humankind", there are still narratives that do not take into account the temporal depth of African history, its ancient relationships with other spaces and the diversity of historical situations before, during and after European colonial exploitation. Inadequate and Eurocentric periodizations also prevail, whether for world history (the already much criticized division of the four "Ages") or for the history of Africa (a "pre-colonial period" for millennia of history). UNESCO's commendable efforts were important but insufficient to overcome Africa´s external dependence (mostly from former colonizing countries) in terms of the production of didactic content and means of teaching history, from basic to university level.

It is important to better understand what is happening in different African countries, at the level of the Academy but also in other spaces where social memory and history confront each other, and how political, ideological, economic and linguistic factors interfere in those situations. In the case of the former Portuguese colonies, which will soon celebrate 50 years of independence, there are additional factors, such as the later end of colonial rule and the delay in historiography about Africa that occurred until recent decades, both in Portugal and in Brazil. Despite current progress, most of the bibliography essential for the study of world history, and of the African continent in particular, is not available in Portuguese.

This special issue of Práticas da História is interested in receiving contributions, referring to colonial and post-colonial African contexts, that explore, question and/or reflect on aspects such as:

- The (im)possibility of epistemological autonomy of African Universities: debates and concerns around History Courses, Curricula and Programs.

- The relationship between historical discourse validated by scientific institutions and other forms of social and collective memory, generally ignored in educational institutions, despite their social importance.

- The way in which memory, history and contemporary policies of African national states intersect in spaces of debate and knowledge production, on the continent and beyond.

- The penetration and impact on the historiography of digital humanities - and the possibilities and difficulties, in the African context, of articulating the teaching of History with the world of digital information.

- The place and contribution of historiography and the teaching of History in the construction of memory in Africa, considering the multiple relationships between the constructions of historiographical discourses, public spaces and the public sphere.

- Policies for the construction of archives, public libraries and other infrastructures, as well as the constitution, dissemination and access of funds and collections, a condition for democratic processes in the construction of public memories.

- The relationships between African historiography and Africanist historiography - networks, internationalism, issues of power, publishing markets and their impacts.

- The construction and teaching of "national histories" in the face of the risk of teleological and anachronistic interpretations, projecting current borders into the past.

- The use of the past (known, imagined, manipulated) by different social actors (political parties, unions, churches, groups and social movements, individuals and collectives of citizens or others) as a place of confrontation, contradiction and legitimation.

 

Proposals (maximum 500 words) must be sent by 31 July to praticashistoria@gmail.com, accompanied by a short biographical note from the author(s). Your acceptance or refusal will be communicated by 10 September. Articles from accepted proposals must be submitted by 15 December. Contributions are accepted in Portuguese, English, Spanish and French.

 

Contact Email
praticashistoria@gmail.com

Sunday, March 31, 2024

Call For Videos: 4th Annual Smartphone Short Film Competition-Talking Films Online (TFO)



**𝐖𝐡𝐨 𝐰𝐞 𝐚𝐫𝐞**:
Talking Films Online (TFO), a forum for discussing cinema since 2020.
**𝐖𝐡𝐚𝐭 𝐰𝐞 𝐝𝐨**:
Attempt to bridge the gap between those who make films and those who study them
**𝐇𝐨𝐰**:
Bring on the same platform teachers, students, researchers, reviewers, critics, cinephiles, etc. on the one hand and producers, directors, actors, cinematographers, screenplay writers, subtitlers, etc. on the other.
** 𝐖𝐡𝐚𝐭 𝐲𝐨𝐮𝐧𝐠 𝐚𝐬𝐩𝐢𝐫𝐢𝐧𝐠 𝐟𝐢𝐥𝐦𝐦𝐚𝐤𝐞𝐫𝐬 𝐰𝐡𝐨 𝐞𝐧𝐭𝐞𝐫 𝐭𝐡𝐞 𝐜𝐨𝐦𝐩𝐞𝐭𝐢𝐭𝐢𝐨𝐧 𝐜𝐚𝐧 𝐥𝐨𝐨𝐤 𝐟𝐨𝐫𝐰𝐚𝐫𝐝 𝐭𝐨, 𝐛𝐞𝐬𝐢𝐝𝐞𝐬 𝐭𝐡𝐞 𝐩𝐫𝐢𝐳𝐞𝐬**:
Their films will be viewed and feedback offered by experts on cinema from all over the world, as well as by those currently in the business of cinema.
**𝐇𝐨𝐰 𝐭𝐡𝐞 𝐰𝐢𝐧𝐧𝐞𝐫𝐬 𝐰𝐢𝐥𝐥 𝐛𝐞 𝐜𝐡𝐨𝐬𝐞𝐧**:
By an independent Jury consisting of top filmmakers and film critics
𝑺𝒕𝒖𝒅𝒆𝒏𝒕𝒔, 𝒔𝒆𝒏𝒅 𝒊𝒏 𝒚𝒐𝒖𝒓 𝒇𝒊𝒍𝒎𝒔 𝒇𝒐𝒓 𝒕𝒉𝒆 𝒄𝒐𝒎𝒑𝒆𝒕𝒊𝒕𝒊𝒐𝒏, 𝒂𝒏𝒅 𝒕𝒆𝒂𝒄𝒉𝒆𝒓𝒔 𝒂𝒏𝒅 𝒑𝒂𝒓𝒆𝒏𝒕𝒔, 𝒅𝒐 𝒆𝒏𝒄𝒐𝒖𝒓𝒂𝒈𝒆 𝒚𝒐𝒖𝒓 𝒔𝒕𝒖𝒅𝒆𝒏𝒕𝒔 𝒂𝒏𝒅 𝒄𝒉𝒊𝒍𝒅𝒓𝒆𝒏 𝒕𝒐 𝒔𝒆𝒏𝒅 𝒕𝒉𝒆𝒊𝒓 𝒆𝒏𝒕𝒓𝒊𝒆𝒔 𝒕𝒐 𝒖𝒔!

Saturday, March 30, 2024

CFP: International Conference "Literary transitions / Transitional literatures"


Vitoria-Gasteiz, Faculty of Arts, UPV/EHU,  Spain ,January 15-17, 2025

The concept of transition – characterized as a historical moment with a beginning and an end, encompassing a defined and significant period – awaits systematic reflection, according to Cristina Moreiras-Menor (2011). Although Richard (2001) points out that transition, as a proper noun, represents a temporal rationale, this term is generally understood as the shift between two times, a before and an after, presented linearly and laden with transformations. A transition is an evanescent stage that precedes another that emerges with remarkable power. This evanescent stage feels like an abyss that represents the ruin of a past and the emergence of an unwritten future.

We focus on the historical collapse that the transition entails, the landscape of change from one historical moment to another, and how that change is mirrored in literary and cultural documents. We specifically examine literary documents that contemplate the end of an era and explore the transition towards a new phase that accompanies this end. This transition is often portrayed as either innovative or as the dismantling of the preceding period. This time of transition – of change, uncertainty, and contradiction – is a time to confront the inherited legacy and transform it into something different, into a promise that implies several future directions. As Derrida (1995) suggests, a legacy is never univocal and natural; instead, it challenges interpretation by presenting itself as a secret to unveil. Thus, we are particularly interested in interpreting, deciphering, and reinterpreting that legacy on its emotional, subjective, political and ideological levels.

We understand transitions as a time of change in the historical trajectory – this trajectory can be collective and individual, vital, or literary – and as a stage in which new knowledge, new epistemologies, and new ways of understanding life and society are formulated. This separation between the past and the future opens a space for emerging discourses, new imaginaries, new expressions of experience and new individual and social identities. Besides, it affects all traditions. Precisely for these reasons, the members of the research group “IdeoLit: Literature as a historical document” have organized this conference, which is aimed at all those researchers who study the concept of transition in literature from the classical times to the present day.

  1. Personal/Individual Transitions:
    • Growth, coming of age or Bildungsroman
    • Gender transition (trans realities)
    • Childhood, adolescence, maturity, old age, relationship with death (our own or someone else's death and its effect on the individual
    • Change/awareness
  2. Collective transitions:
    • Political transition: regime changes and their implications in different fields
    • Social transition: revolutions, social movements, and other social transitions.
    • Changes in the emotional, family and community sphere
    • Ecology: structural changes to face climate disaster, collapse, degrowth or energy transition, among other aspects.
    • Transitional process of societies going through collective trauma
    • Technological transition: AI, posthumanism
  3. Literary transitions:
    • Generic or formal transition: exhaustion or appearance of literary genres, in new forms
    • Aesthetic transition: changes in aesthetic currents, ruptures
    • Thematic transition: in relation to the historical context, the appearance of new themes that represent that moment of transition
    • Comparatist transition: opening of new lines, new perspectives that break with the past

Bibliography:

Derrida, Jacques (1995): Espectros de Marx: el Estado de la deuda, el trabajo del duelo y la nueva internacional, Madrid: Trotta.

Jameson, Fredric (2000): Las semillas del tiempo, Madrid: Trotta.

Moreiras-Menor, Cristina (2011): La estela del tiempo. Imagen e historicidad en el cine español contemporáneo, Madrid-Frankfurt am Main: Iberoamericana-Vervuert.

Rancière, Jacques (2006): Política, policía, democracia, Santiago de Chile: LOM.

Resina, Joan Ramon (ed.) (2000): Disremembering the Dictatorship: The Politics of Memory in the Spanish Transition to Democracy, Amsterdam: Rodopi.

Richard, Nelly y Alberto Moreiras (eds.) (2001): Pensar en la posdictadura, Santiago de Chile: Cuarto Propio.

Ricoeur, Paul (1980): “Narrative Time”, Critical Inquiry 7, 1 (On Narrative), autumn, pp. 169-190.

Subirats, Eduardo (2002): Intransiciones. Crítica de la cultura española, Madrid: Biblioteca Nueva.

Vilarós, Teresa M. (1998): El mono del desencanto. Una crítica cultural de la transición española (1975-1993), Madrid: Siglo XXI.

 

SUBMISSION OF PROPOSALS

Proposals must include the following information for ALL authors: name and surname, organization or institution, email, the title of the proposal, a 15-20 line abstract, and biographical information (maximum: 10 lines).

Proposals can be sent to the following email address in Word (or compatible) format until May 31: congresotransicion.ideolit@ehu.es

The organizing committee's decision will be notified by July 15.

Proposals will be accepted in Spanish, Basque, English, French or German. Each speaker will have 20 minutes for their presentation, followed by a brief Q&A session. All presentations must be made in person.

 

Contact Information

 

Main Organizers:

  • M. Carmen Encinas Reguero (University of the Basque Country, UPV/EHU)
  • Garbiñe Iztueta Goizueta (University of the Basque Country, UPV/EHU)
  • Natalia Vara Ferrero (University of the Basque Country, UPV/EHU)
Contact Email
congresotransicion.ideolit@ehu.es

Wednesday, March 27, 2024

Call For Articles: Special issue #CFP: #Women’s #Autobiographical #Filmmaking -Alphaville: Journal of #Film and #Screen #Media,

 Call for Papers

Women’s Autobiographical Filmmaking 

Special issue of Alphaville: Journal of Film and Screen Media, Summer 2026

Guest editors: Dr Felicia Chan (University of Manchester) and Dr Monika Kukolova (University of Salford)

Autobiographical filmmaking refers to films created by filmmakers that tell stories about their lives, experiences and memories. These may be truthful or partially fictionalised, remembered clearly or misremembered, or a combination of these, usually in ways that also explore how film as a medium itself can do this — a form of practice-as-research, if you like. We are interested in exploring with potential contributors whether there might be a gendered nature to this mode of filmmaking / life-remembering / self-narrating? Do filmmakers who identify as women tell different stories about themselves and their lives from those who identify as men, or do they do so in a different way? How do women filmmakers navigate their simultaneous objecthood and subjecthood in the eye of the camera (Everett, 2007)? Much of the canon in film studies is constituted by works of male auteurs, all in one form or another said to be exploring their lives, their pasts and their selves on screen: think of figures like Federico Fellini, Woody Allen, François Truffaut, Shane Meadows, the list goes on. This structural domination is being continually challenged (Gledhill and Knight, 2015) and moves to rehistoricise women’s filmmaking have seen increased attention on figures from Agnès Varda through to Greta Gerwig though much more remains to be done on women filmmakers in the global majority. 

There has been a longer history of scholarship on women’s literary life-writing (Smith and Watson, 1998; Neuman, 2016; Brodzki and Schenck, 2019) but less so on women’s life-writing on/through film as a mode of self-narration. How have women filmmakers had to navigate the industrial structures of filmmaking with all its gatekeeping mechanisms, including access to capital? To what extent are these gatekeeping mechanisms disproportionately discriminatory towards women?  

We are inviting proposals to explore any area of the subject, although we are especially keen to receive proposals from scholars studying the ways women in the global majority use cinema to write themselves and their memories into post/colonial histories. We would also like to invite proposals on alternative publication formats such as the video essay, and shorter provocations, interviews or reports.

Possible topics include (but are not limited to):

  • Filmmaker case studies
  • Close readings of individual films
  • Industry analysis
  • Autobiographical film as method
  • Challenges to theoretical orthodoxies, e.g. auteur theory, canon-making, etc.
  • Decolonial approaches to gender studies and women’s filmmaking 

Full-length articles: 5,500-7,000 words, including notes but excluding references

Video essay: Approx. 3-15 mins, plus accompanying text 500-1000 words

Short reports, provocations, reviews, interviews, reflections: 1,500-2,500 words

Full-length articles and video essays will be subject to full peer review. Guidelines here: https://www.alphavillejournal.com/Guidelines.html

Publication Timeline
15 May 2024, abstract due

31 May 2024, notification of editors’ decision
15 January 2025, full video essay / manuscript due 
Publication: Summer 2026


If you are interested in contributing to this issue, please send a 300-word abstract along with a brief biography, in the same file, to Dr Monika Kukolova (M.Kukolova@salford.ac.uk)

Feel free to contact us with any questions.

 Alphaville is a diamond open-access journal, and it requests no fee from authors or readers. Visit us at https://www.alphavillejournal.com

 

Contact Information

Dr Felicia Chan, University of Manchester, UK: Felicia.Chan@manchester.ac.uk

Dr Monika Kukolova, University of Salford, UK: M.Kukolova@salford.ac.uk

Contact Email
Felicia.Chan@manchester.ac.uk

Saturday, March 23, 2024

CFP: #Disability and Detective Fiction (theme issue of Clues: A Journal of Detection) -Clues Journal

 The guest editors welcome proposals for a theme issue of Clues focusing on the representation of disability, broadly defined, in crime and mystery fiction, television shows, films, and other media. We seek a wide range of critical and cultural perspectives on how bodymind anomalousness features in stories about wrongdoing, from the maimed and scarred villains of Conan Doyle to the neurodivergent hero-sleuths of contemporary popular culture. In what ways have impairment, disfigurement, and disease been used to raise the stakes of fear and upheaval in crime stories? How do such narratives perpetuate or challenge ableist notions of order and resolution? Does corporeal vulnerability stoke our pity, sympathy, or admiration—whether for criminals, victims, or detectives whose genius seems to triumph over adversity? Conversely, do the contours of disability facilitate alternative modes of sleuthing and lead to unexpected forms of justice? What alternate forms of knowledge do these characters and texts present and endorse? Since the genre of crime by definition entails what and how we know, how have authors—over time and around the world—engaged disability to probe the meaning of truth? 

Possible topics may include but are not limited to:
• Disability as the mark of criminality  
• Disability as a crime—or as damage—that must be redeemed
• Disability as metaphor for social decay
• Supercrip crime solvers and criminals
• Analytical prowess as compensation for physical or emotional loss
• Neurodivergence and the lonely sleuth
• Intersectional plots pairing disability with gender, race, class, and sexuality
• Disability as affective vector: upping the emotional ante
• Specific impairments as modes of knowing: detection and “cripistemology”   

Submissions should include a proposal of 250–300 words and a brief bio. Proposals due: March 15, 2024. Submit proposals to: Prof. Susannah B. Mintz, Dept. of English, Skidmore College, email: smintz@skidmore.edu, and Prof. Mark Osteen, Dept. of English, Loyola University Maryland, email: MOsteen@loyola.edu. Full manuscripts of 5,000 to 6,500 words based on an accepted proposal will be due in September 2024.

About Clues: Published biannually by McFarland & Co., the peer-reviewed Clues: A Journal of Detection features academic articles on all aspects of mystery and detective material in print, television, and film without limit to period or country covered. It also reviews nonfiction mystery works (biographies, reference works, and the like) and materials applicable to classroom use (such as films). Executive Editor: Caroline Reitz, John Jay College/The CUNY Graduate Center; Managing Editor: Elizabeth Foxwell, McFarland & Co., Inc., Publishers

Contact Information

Elizabeth Foxwell
Managing Editor, Clues: A Journal of Detection
Editor, McFarland & Co., Inc., Publishers
PO Box 611
Jefferson, NC  28640

Contact Email
journalclues@gmail.com

Wednesday, March 20, 2024

#CFP: Short Fiction in Theory & Practice : Special Issue: ‘#Materiality in the Short Fiction of #Alice #Munro’

 Guest edited by Corinne Bigot, University of Toulouse Jean Jaurès, and Christine Lorre, Sorbonne Nouvelle University


‘People’s lives, in Jubilee as elsewhere, were dull, simple, amazing and unfathomable—deep caves paved with kitchen linoleum.’

(Munro, Lives of Girls and Women, 1971)

Throughout her fourteen collections of short stories, Alice Munro has shown a clear interest in how her characters’ inner life and perception of the world are defined by the material things most immediate to them, as exemplified in the epigraph, a well-known quotation from Lives of Girls and Women. Materiality is an integral dimension of culture (Tilley et al., 2006), and in Munro’s work, it is central to an understanding of social, gendered and individual existence, as the two are interconnected. Material things nurture the imagination, where they stick and develop as significant, unfathomable images. They embody the mystery of life, being paradoxically, like landscape, both “touchable and mysterious” (Munro, 1974). They physically anchor characters in the here and now, but they also speak to mind and spirit. They can embody connections as well as disconnections. Whether they are kept or discarded, over time, they haunt the protagonist and lead on to chains of memories, repeatedly re-membered, and with variations. They may become symbols of something larger than themselves, but more often than not they remain images stored up in memory, as so many active links to the past that transform the perception of the present. Objects act as signs that relate to the signified – and often as an index of atmosphere – but also, beyond that, to coded concepts, in a dual dynamic that binds surface and depth, that fuses realism and myth.

The international, peer-reviewed journal, Short Fiction in Theory and Practice (Intellect Books) is inviting original submissions for a special issue to be published in Spring 2025, that will explore material culture in Alice Munro’s work. We welcome critical articles, short fiction, and reflections on practice that investigate any aspect of the question of materiality in Munro’s short fiction.

Suggested topics might include, but are not limited to:

  • Material domains: architecture, home furnishing, technology, food, clothing, style.

  • Everyday materiality: houses and their contents, the materiality of domesticity.

  • Materiality and social class: class markers, social distinction, social belonging

  • The lifecycle of things: things made, exchanged, consumed.

  • Things and their meanings: performance, transformation, obsolescence.

  • Things and social identity: politics and poetics of displaying, representing, conserving material forms.

  • Material forms and the (gendered) body: embodied subjects, body care, role of the senses, phenomenology.

  • Material forms and sociality: subjectivities, intimacies, social and familial relations, worldviews.

  • Materiality and remembrance: signs of time passing, change, transformation, evolving interpretation.

  • Materiality and circulation: exchange and consumption, technology.

  • Materiality and discards: remains, junk, waste.

  • Archeological or ethnographic situations: materiality in alien settings.

  • Material memory: cultural memory, monuments and memorials.

Articles should be 4,000–8,000 words long and must not exceed 8,000 words including notes, references, contributor biography, keywords and abstract. All submissions are peer-reviewed. Contributions should be submitted electronically through the journal webpage by clicking the submissions tab.

For style guide and submission details please see: https://www.intellectbooks.com/short-fiction-in-theory-practice

For further enquiries please contact the editor, Professor Ailsa Cox, coxa@edgehill.ac.uk.

The deadline for submissions is 1 September 2024.

Contact Information

Ailsa Cox

Contact Email
coxa@edgehill.ac.uk

Sunday, March 17, 2024

Call for Applicants : Workshop on Women and Crime Fiction - June- 2024

 Ever since the genre established itself in the Anglophone world in the mid-nineteenth century, crime fiction and discussions of crime fiction have tended to underemphasize the role women play in it, unless they are victims or femme fatales. Yet women, as authors, major characters, and audience members, have been a part of the genre since the very beginning. Indeed, it has been about a century since one could have feasibly considered crime and detective fiction (written or otherwise) as a “male-dominated genre,” and scholarship has followed suit: from Kathleen Gregory Klein’s The Woman Detective to Sally R. Munt’s Murder by the Book?, from Priscilla L. Walton and Manina Jones’ Detective Agency to Gill Plain’s Twentieth Century Crime Fiction – the study of femininity and crime fiction has proved to be extremely fertile ground for analysis and debate.

Quite often, however, these studies and debates remain within clearly defined historical boundaries, with the result that the female detectives and authors of the nineteenth century only rarely come into scholarly contact with their peers from the “Golden Age of Detective Fiction,” the femmes fatales of the hardboiled mode, the feminist sleuths of the 1970s and 1980s, or the multimedial third- and fourth-wave-feminist contributions produced since the turn of the millennium. Additionally, the investigation of the contents of genre fiction are rarely combined with a study of female recipients.

Studies have shown that women seem to be the main audience for true-crime books (Vicary and Fraley 82). This interest holds true across various media; true crime is the most popular podcast subject in the US (Stocking et al.) and the audience for these highly popular podcasts consists mostly of women (Stocking et al., Greer 154–155). Women are also active as producers of such fare. For example, the genre-defining podcast Serial, hosted, written, and produced by Sarah Koenig, became the first podcast to win a Peabody Award in 2015. Further examples include the podcasts Drunk Women Solving Crime or My Favorite Murder, both hosted by women.

This workshop seeks to counteract the prevailing scholarly compartmentalisation and to bridge the aforementioned historical and disciplinary gaps by convening scholars to present and discuss their work on femininity and crime literature, film, television, videogaming, podcasting, fan fiction, etc., from any historical period. Not only does this approach serve to facilitate a more holistic approach to the long and varied history of crime fiction; it also allows for interdisciplinary and diachronic takes on the topic, bringing together perspectives from different branches of the humanities and social sciences.

Keynote: Dr. Kerstin-Anja Münderlein (University of Bamberg): “‘She’s a woman, and women act in a silly way’: Policing and (Re-)Negotiating Acceptable Femininity from the Golden Age to Syd Moore” 

Papers: We invite abstracts for 20-minute papers in English covering texts from all kinds of media (literature, film, television, podcasting, videogaming, etc.), discussing topics such as:

  • Female characters and stereotypes in crime fiction
  • The femme fatale
  • Women as audience for crime fiction
  • Women as producers of crime fiction
  • Intersectional approaches to issues of race, class, and nationality
  • The rise of female-led podcasts
  • The (physical) female voice of podcasts
  • The fetishisation of the female victim
  • Historical comparisons, from the 19th century to the 21st
  • The ethics of true-crime fiction
  • The reception of crime fiction by female authors
  • Gender-bending in fan fiction
  • etc.

Bibliography

Greer, Amanda. “Murder, She Spoke: The Female Voice’s Ethics of Evocation and Spacialisation in the True Crime Podcast.” Sound Studies, vol. 3, no. 2, 2017, pp. 152–164, https://doi.org/10.1080/20551940.2018.1456891.

Klein, Kathleen Gregory. The Woman Detective: Gender and Genre. U of Illinois P, 1995.

Munt, Sally R. Murder by the Book? Feminism and the Crime Novel. Routledge, 1994.

Plain, Gill. Twentieth-Century Crime Fiction: Gender, Sexuality and the Body. Routledge, 2001.

Stocking, Galen, et al. “A Profile of the Top-Ranked Podcasts in the U.S.” Pew Research Center’s Journalism Project, 15 June 2023, https://www.pewresearch.org/journalism/2023/06/15/a-profile-of-the-top-ranked-podcasts-in-the-u-s/.

Vicary, Amanda M., and R. Chris Fraley. “Captured by True Crime: Why Are Women Drawn to Tales of Rape, Murder, and Serial Killers?” Social Psychological and Personality Science, vol. 1, no. 1, 2010, pp. 81–86, https://doi.org/10.1177/1948550609355486.

Walton, Priscilla L., and Manina Jones. Detective Agency: Women Rewriting the Hard-Boiled Tradition. U of California P, 1999.

Contact Information

Please send your 250-300-word abstracts to alan.mattli@es.uzh.ch and olivia.tjon-a-meeuw@es.uzh.ch in a PDF file. Please also send a separate bionote of about 100 words. The deadline for abstracts is May 1st, 2024.

Contact Email
alan.mattli@es.uzh.ch
Attachments

Sunday, March 10, 2024

CALL FOR A CHAPTER FOR THE BOOK SPACE, IDENTITY AND LITERATURE: CRITICAL PERSPECTIVES





Authentic, scholarly and unpublished research papers are invited from academicians and writers for publication in an edited volume. The volume will be published with an ISBN (International Standard Book Number) by a reputed National publisher. Authors are requested to strictly follow the submission guidelines mentioned herewith in their papers. Only electronic submission via email will be accepted for publication. The proposed title of the volume is SPACE, IDENTITY AND LITERATURE: CRITICAL PERSPECTIVES
Concept note-
In the realm of literature Space is a very vast area as it covers various spaces like cultural space, mental space, ideological space, political space, gender space, psychological space etc. Space is obviously a multidimensional concept. Space here is meant not in literal way but it encompasses various dimensions. When we will try to define space in literal way it is found that Homi K Bhabha in his The Location of Culture used the term third space while describing the hybridity in postcolonial literature. According to Bhabha the third space is a mode articulation, a way of describing a productive and not merely reflective space that engenders new possibility. It is an interruptive, interrogative and enunciative (Bhabha). After that Henri Lefebvre talks about space taking it to another level. He categorizes space in three ways- perceived space, conceived space and lived space (Lefebvre). After that comes Edward Soja who draws on Lefebvre to develop his theories on space but he extends the understanding of spatiality in several ways that have proved valuable in this study, especially to our understanding of lived space. He spells out the importance of positions that are simultaneously centred and marginalised. Under the heading of third space, he incorporates some of the feminist and post-colonial criticisms of postmodern geographies (Soja) by embracing issues articulated in the works of bell hooks and Gillian Rose, among others.
At the same time through the politics of Identity will encompass the way in which characters are presented, depicted in these selected novels as well as how one has to lose his or her identity, what are the reasons behind this loss of identity and what types of crises they have to face after losing the identity. After losing identity one has again to rebuild the identity in new land, new background and in new way. This remaking of identity with the change of space is something very difficult to cope with, to manage and to adjust with. Naturally in this process what happens is that one’s settled, established life turn to be unsettled.

Sub Topics:
Colonial Legacy and Postcolonial Identity
Urbanization and Globalization
Partition and Displacement
Gender and Identity
Diasporic Identities
Language and Identity
Intersectionality of space and identity
Any other related to space, identity and literature


SUBMISSION GUIDELINES:
Files must be in Microsoft Word format following MLA 8th or 9th Edition, carrying a self-declaration that it is an original work and has not been published/ sent for publication anywhere else.
Font and Size: Times New Roman 12, Title must be in 14 point size, bold.
Word Limit: Minimum 2500 and maximum 4500 words including abstract and keywords.
Works cited should be included in the manuscript and not in separate document.
A brief bio-note of 150 words of the respective authors should be attached towards the end of full paper.
Authors are requested to submit their manuscript to
cfpforspaceandidentity@gmail.com on or before 15th April 2024
A fee of Rs. 1000 will be chargeable after the selection of paper against which each contributor will get a complimentary copy.
The book will be published from Authors Press Publisher or Orient Longman Publisher
For any other information do mail to cfpforspaceidenity@gmail.com or call 8617405478(WA)/ 9476142868
Editor
Bhaskar Ch Sarkar
Assistant Professor of English
S.R. Fatepuria College
Beldanga
Murshidabad

Friday, March 8, 2024

CALL FOR PAPERS: Special Issue on #Gender and #Climate Justice- Atlantis Journal

Special Issue: Gender and Climate Justice


Co-edited by Lori Lee Oates (Memorial University of Newfoundland) and Sritama Chatterjee (University of Pittsburgh)

This special issue of Atlantis Journal takes an intersectional approach to gender and climate justice. We invite work that explores a range of topics, including but not limited to:


• What should climate justice look like for women, trans people, and non-binary people?

• What is the role of masculinity in the climate crisis?

• What is ecofeminism in the contemporary world and what is its role in climate justice? How does ecofeminism relate to queer justice for the environment?

• What do queer and trans ecologies look like at present? How is this limiting for climate justice? What should they look like?

• What does disaster planning for the elderly and disabled look like? What should it look like to achieve true climate justice?

• How do historical colonial patterns of gender and racial inequality persist into the present and what does this mean for the climate crisis? Where are the intersections between race and gender?

• What are the links between climate justice movements and reproductive freedom activists? What should they be?


• What is petroleum patriarchy and where does it exist? How can it be addressed? Will a transition off fossil fuels be sufficient to address it?

• What are the limits of the politics of “the Anthropocene” for climate justice?

• How are gender and climate justice reflected in literature and arts?

• What kind of pedagogies are necessary to address gender and climate justice?

This call invites individuals to submit research articles (up to 7,000 words), literary writing (up to 3,000 words), and book reviews (up to 1,000 words). The editors are particularly interested in hearing from scholars and writers from the global south, Indigenous communities, queer and trans scholars, and those who engage with feminist or environmental activism. We envision this special issue as a forum both for acknowledging the urgency of the situation and presenting solutions from voices that are often excluded from the conversation. 

Submission Deadline: May 1,2024.

Please read full submission guidelines on our website before submitting.


https://journals.msvu.ca/index.php/atlantis/index

atlantis.journal@msvu.ca

Katherine Barrett (Managing Editor)

Thursday, March 7, 2024

Call for Papers: Twenty-First-Century #Religion and #Culture in Youth #Literature (A Special Issue of The Lion and the Unicorn)

 From its earliest moments in medieval Britain and colonial America, Anglophone children’s literature was built on a foundation of religion. Even when not positioned as explicitly religious, the dominant British and colonial religion of Christianity infused children’s books with church-based morals, and references to Christmas and Jesus were taken for granted. Since then, religion has continued to be an important aspect of children’s literature, but the relationships between religion, culture, children’s literature, education, and libraries have changed several times. Now, in the twenty-first century, Anglophone children’s literature is often more conscious of religious and international diversity, having been influenced by movements like We Need Diverse Books and grassroots organizations serving religious and cultural minorities. At the same time, increasing social and political polarization affects the production of children’s literature, especially when controversial topics are so often tied to religious ideologies. Recent developments like new manifestations of religious nationalism, the rise of antisemitism and Islamophobia, the splintering of the Methodist church, Pope Francis’ decision to allow Catholic clergy to bless same-sex relationships, the growing rate of young adults leaving religious communities, and differentiation within a variety of indigenous and diasporic religions make the time ripe for reconsideration of academic discussions about the role of religion and belief in children’s literature.

This special issue aims to revive and expand long-standing conversations about the roots and continued presence of religion in children’s literature, beyond consideration of early Christian influences. For example, children’s literature has been shaped by many developments including:

  • fundamental changes in religious institutions; 
  • cross-cultural influences within and between religions; 
  • secularization and resistance to secularization; 
  • grappling with and/or reconciliation of creationism and evolution; 
  • movements intersecting with religion (e.g., ongoing civil rights struggles, feminism, LGBTQ+ advocacy, abortion access, environmental activism, decolonial movements, Black Lives Matter). 

With an eye towards interfaith dialogue and inclusion, we will feature a variety of perspectives on religion and culture in children’s and young adult literature. 

We invite submissions of proposals for this special issue of The Lion and the Unicorn to be published in Spring 2026. Please submit abstracts of 400-500 words for full-length essays (8,000-10,000 words) addressing, challenging, and/or developing ideas about the current state of religion and culture, broadly defined, in texts for children and young adults in a variety of religious and cultural contexts. We especially encourage papers considering non-Western and non-Abrahamic religious traditions, papers engaging with intersectionality, and papers considering old ideas in a new light.

Possible topics include, but are not limited to:

  • Does religion still matter in twenty-first-century youth literature? 
  • How does the post-secular and/or post-humanist age affect religious content in youth literature, and vice versa?
  • How does the current state of religion in children’s literature and the relationship between religious cultures and children’s literature fit within the longer history of children’s publishing?
  • What is the legacy of canonical authors or enduring representations of religious practice in children’s literature? 
  • What has happened to the “Christmas chapter,” especially in series fiction? What role have those episodes, so long a staple of Anglophone children’s texts, played in shaping youth literature, national religious consciousness, politics, etc.?
  • What does children’s literature still lack in the realm of religion and culture? Why are those elements important, and what prevents them from being represented?
  • How are the many voices within individual religious or cultural communities represented? What are some of the internal debates, and how do they affect either niche or mainstream publishing?
  • Are there significant differences in religious representations between books published for a mainstream audience and ones published for an internal religious or cultural community? Between books distributed in a single country versus books distributed globally?
  • How does the religious or cultural affiliation of the perceived or intended audience affect the narratives of children’s texts? 
  • What are the functions of youth libraries in religious cultural centers like mosques, synagogues, churches, or temples? What kinds of book-centered programming happens in these centers, and what role do they play in the representation of religion and culture in children’s literature?
  • How do public libraries and/or public schools use materials with overt or subtle religious messaging? What kinds of book-centered religious programming do public libraries and/or public schools plan? How does this vary based on community demographics? 
  • How do local or national standards of education in subjects like “world religions” influence which books make their way into the curriculum? How are these books utilized in lesson plans?
  • At a time when librarianship, children’s literature scholarship, and publishing have committed to diversifying representation, what role does the age-old question of quality in children’s texts play in various contexts including religious communities, professional educators, scholars, etc.?
  • How does religious content in youth literature shape the cultural consciousness of youth in all religious traditions (including none), of the publishing industry, and/or of professional organizations? 
  • What role do children’s editions of sacred texts and/or study guides play in the broader market of youth literature?
  • Is there a significant difference between religion as represented in fantasy and religion as presented in contemporary or historical realism? What are the effects of those differences on readers?
  • Do books about contemporary youth and religion differ in any significant ways from books drawing on religious pasts or legends? 
  • Does age matter? How do picture books, early readers, middle grade books, and/or young adult books differ in their engagement with or representation of religious and cultural content?
  • How does youth literature with religious content address or engage with often-controversial themes like social justice, the environment, etc.? How does a religious lens influence the messaging around these topics? What are the differences between various religions’ and denominations’ approaches to these topics?
  • How does religion function in any or all aspects of youth literature and youth media more broadly?


Deadline for submissions of proposals: July 15, 2024

Submit via Google Form: https://forms.gle/tC8g7MYpLAxF6dcu8

For any questions, contact Sara Schwebel (sls09@illinois.edu), Suzan Alteri (salteri@illinois.edu), or Dainy Bernstein (dainyb@illinois.edu).

Contact Information

Sara Schwebel, Suzan Alteri, Dainy Bernstein

Contact Email
sls09@illinois.edu

Wednesday, February 28, 2024

Call for Chapters – Cultural Depictions of the Stepmother: Literature, Stage, and Screen



This call is for abstracts for a scholarly, international edited collection entitled, Cultural Depictions of the Stepmother: Literature, Stage, and Screen. Currently I am seeking a number of academics and professionals in the field who might like to send me an abstract for consideration for inclusion in the book.



The aim of this scholarly edited collection is to reveal how, in any society, the personal expectations and actual experiences of the stepmother may differ from the societal and cultural expectations and realities of the role. The further aim is to show how the stepmother is perceived in the popular views of a particular society, as demonstrated in the literature, stage, screen, and pop culture narratives, of that society.



To whatever degree, every culture in the world is different to all others. Yet, in any culture, religious and cultural beliefs are inseparable, intrinsic one to the other, and are important to the traditions, customs, practices and laws of any particular culture or society. One figure that remains consistent in almost every culture, and that attracts the attention, is the stepmother. Regardless of whether a culture is mainly monogamous or polygamous, the stepmother is one of the female figures that are central to the family, the community and hence the society and the culture. Various sources define the stepmother as: a woman who is married to one’s father after the divorce or separation of one’s parents or the death of one’s natural mother; a non-biological female parent who is married to a child’s biological male parent. An added complexity exists: statistics indicate that globally, there has been an increase of children born outside of marriage and who are raised by their cohabiting or non-cohabiting parents. Thus, a stepmother can be a woman who either marries or is the female partner of a man who has biological children resulting from a former marriage, or a previous union with some other woman. A woman may also become a stepmother by default as in the case of, say, raising the children of a deceased (or otherwise absent) relative, or an orphan or an abandoned child as if her own offspring. Thus, given that cultural and religious, and social traditions, and laws vary widely across the globe, a woman may become the stepmother either by fact or by custom, or by religious or civil law, or by de facto relationship, or by guardianship. In most though not necessarily all cultures, and according to the religious and cultural beliefs and laws of a culture, as well as the civil laws of that country, a man who has been but is no longer married may remarry; and in some other cultures also, a man who is currently married may marry or take a second wife who may be expected to act as stepmother to his biological children by another previous marriage or union that has ended, or by agreement between the child’s/children’s biological parents.



It is generally understood that whether she is welcomed by her new family or not, a man’s first wife or female partner brings with her some baggage into the life of the man she either weds or cohabits or has a relationship with, and hence into the family into which she marries or enters in some way. Perhaps this may be more so in the case of the stepmother—a second (or further) wife or female partner of a man who already has a biological child/or children from a former relationship. Sometimes, too, a woman who becomes a stepmother will bring her own biological offspring into the union. It is well documented that parenting can be a difficult task at times. For a stepmother, the challenges, problems, and the difficulties in raising some other woman’s biological children may differ to those experienced by the biological mother. Questions arise: within any culture, what are the implications for a woman who weds or become the female partner of a widower or a divorced or separated man who is actively involved with, or is responsible for, his biological child/children from a previous union? Likewise, what are the implications for a stepmother in a) a polygamous arrangement, and b) for a stepmother in a monogamous relationship?



Some suggestions for potential contributors to consider, and that could be addressed, may include but not limited to, are:
What are the cultural and social duties and expectations of the stepmother; and what are her personal realities and expectations, as depicted in the popular culture of a particular culture/society? Is it possible to detect differences or sameness between the fictionalized portrayals and the realities and social dictates of that culture?
How do class, ethnicity, culture, race, gender, and possibly history, shape depictions of the stepmother, as indicated in the popular screen, stage, and literary productions of any one particular culture?
What is the range of ways in which the stepmother is represented in the popular/social culture of the various societies?
Are there any powerful cultural or socially historical antecedents for the representations of the stepmother in popular/social culture, as screen, stage, and literary productions?
What are the creators’ and/or the producers’ intentions behind their portrayals of the stepmother; what are their messages for their audiences?
How would we establish the underlying cultural, historical, or production motivations for particular depictions of the stepmother? How often, if at all, are these representations told from the point-of-view of the stepmother herself? Alternatively, how often, if at all, are these representations told from the point-of-view of the stepchild/stepchildren, or the husband or partner of that woman herself?
Is there a difference between the ways in which the stepmother is depicted in film for small and large screen, and between those mediums to the depictions in drama, and to literature? Or in these depictions, is there a reasonably broad consensus between these genres?



This collection of scholarly essays will make an intervention in the field: it will be the first of its kind to make a comprehensive study of what being a stepmother means to and for the woman, to the family, the community, the culture, and the society to which she belongs. This to investigate whether or not there are characteristic features of the stepmother between cultures that may have either some similarity, or that are totally dissimilar; explore the popular beliefs and popular culture in relation to stepmother-hood in any one or more society/ies; document and record how various eastern and western societies perceive and represent the socially and culturally important figure of the stepmother in screen, stage, and literary works, including folk tales and pop culture narratives; indicate if there is agreement or difference between the various cultures on how the figure of the stepmother is depicted in popular culture to the viewing/reading audiences; establish a new and dynamic area of theoretical research crossing family studies, women’s studies, cultural studies, social history, gender studies, social studies, and the humanities in general; point the way to possible future cross-disciplinary work through examining various peoples and societies by way of cultural depictions of the stepmother; and permit scholarly consideration of the extent to which the creators and producers of narratives about the stepmother place this figure on the perimeter of society or at its center.



Submission instructions:

At this initial stage, in lieu of “chapters,” this proposed work, Cultural Depictions of the Stepmother, calls for extended abstracts for consideration for inclusion in the book.
The extended abstracts must be more than 1,500 words and less than 2,000 words. Full-length chapters of not less than, say, 7,000 words, and no more than 8,500 words each (including notes but excluding references lists, title of work, and key words), will be solicited from these abstracts.
Please keep in mind that your essay-chapter will be written from your extended abstract. Your abstract will carry the same title as your essay-chapter
To be considered, an abstract must be written in English, and submitted as a Word document.
When writing your abstract use Times New Roman point 12, and 1.15 spacing.
At the beginning of your extended abstract, immediately after the title of your work and your name, add 5 to 8 keywords that best relate to your work.
Use the Chicago Manual of Style 16th Edition.
Since this work is intended for Lexington Books, USA, please use American (US) spelling not English (UK) spelling, and not Australian English spelling.
Use the Merriam-Webster’s Collegiate Dictionary.
For this project it is most important to use an impersonal academic voice when writing your abstract, and possibly your chapter later. That is, do not use the teacherly voice (“as we will see…”; “here we see…”; “as it will become clear”; …); and do not use 1st person or the personal voice (I; We will find; We find; You; Us; …).
Use endnotes not footnotes, use counting numbers not Roman numerals, and keep the endnotes to a bare minimum, working the information into the text where possible.
Do cite all your work in your extended abstract as you would in a full chapter: a) In the body of the abstract, add parenthetical in-text citations (family name of author and year, and page number/s) (e.g. Smith 2019, 230); b) And fully reference all in-text citations in detail and in alphabetical order, in the References list at the end of your abstract.
Please send your completed abstract as a Word document attached to an email, by the date given in this call for papers.
To this same email please also attach, as separate Word documents, the following:
Your covering letter, giving your academic title/s, affiliation, your position, and your home and telephone numbers, your home address, and your email contact details.
A short bio of no more than 250 words.
Your C.V., including a full list of your publications and giving the publishing details and dates, and including those in press.

Deadline for abstract submissions: April 30, 2024

Editor: Dr Jo Parnell, PhD| Researcher, and Honorary Lecturer, School of Humanities and Social Science, College of Human and Social Futures, University of Newcastle, Australia.



Papers should be forwarded to:

Saturday, February 24, 2024

Call for essays for special issue of Journal of Global #Postcolonial Studies on contemporary African novelists in America

 Call for Papers for forthcoming special issue on Contemporary African Novelists in America 

Guest editor Simon Lewis is seeking manuscript submissions for a special issue on contemporary African writers who have come to prominence in the United States over the last two decades. 

When Chimamanda Ngozi Adichie burst onto the North American publishing scene in 2003, the publication of her brilliant debut novel Purple Hibiscus didn’t just signal the start of a single author’s brilliant career. It also forged a path for a whole new generation of African novelists who had come to America as immigrants or students and who have been mining that experience in their writing. Writers born in Africa who studied at American universities – Teju Cole, Taiye Selasie, Yaa Gyasi, Uzodinma Iweala, NoViolet Bulawayo and Akwaeke Emezi, to name just a few – have followed in Adichie’s footsteps. Purple Hibiscus has been to these writers what Gabriel García Márquez’s One Hundred Years of Solitude (1967) was to aspiring Latin American writers during the Latin American literary boom of the 1960s and 1970s, and what Salman Rushdie’s Midnight’s Children (1981) was to the proliferation of Indian writers in English from the 1980s on. 

In addition to articles analyzing individual authors and/or their work, we warmly invite essays on any of the following themes:

 Immigration;

 Racism;

 Diaspora; 

 Gender; 

 Sexuality; 

 History;

 Regionalism; 

 Education; 

 Publishing.

Submission Instructions: Manuscripts of c. 5,000 words and following MLA guidelines for formatting should be submitted by September 1, 2024 according to the Journal’s guidelines at https://journals.upress.ufl.edu/jgps 

Preliminary ideas and/or complete articles can be submitted to the guest editor at: Simon Lewis, English Department, College of Charleston, LewisS@cofc.edu

Contact Information

Simon Lewis, Department of English, College of Charleston

Contact Email
lewiss@cofc.edu

Thursday, February 22, 2024

Seeking Chapter Submissions: Going to the Movies with CS Lewis-#Cambridge Scholars Publishing

 Going to the Movies with C.S. Lewis, Call for Chapters

An edited collection tentatively titled “Going to the Movies with C.S. Lewis” is seeking chapter submissions. The book is expected to be published through Cambridge Scholars Publishing.  

Having been born many years after C.S. Lewis died I of course never had the opportunity to watch a movie with the man. However, over the years I feel, as many others probably feel as well, like Lewis accompanies me as I watch movies, read books, attend church services, and make other daily pursuits. Lewis’ works shape my thinking on many theological, educational, and cultural matters like few other authors’ works do.

This book is an attempt to take some of those insights from C.S. Lewis and apply them to film studies. It will explore the thought and theology of C.S. Lewis by connecting his work with film theory, specific films, and adaptations of his work. In many ways it is a book meant to explore how Lewis’ thought can help us view films.

The following categories are meant to act as general guidance for sections of the book:

  1. Exploring Film Theory with C.S. Lewis
  2. Exploring Individual Films with C.S. Lewis
  3. Analyzing Lewis’ Life through Films of About Lewis
  4. Analyzing Lewis’ Fiction through Adaptations of his works

Some chapter ideas that would fit into the above categories include, but are not limited to:

  1. The Four Loves on film
  2. Lewis’ approach to literature as a guide to approaching film
  3. “On the Reading of Old Books” and On the Watching of Old Movies
  4. Lewis’ idea of fantasy in relation to particular films
  5. Ideas in his essays or books that relate to film studies, film theory, or individual films
  6. The many different Narnia adaptations (comparisons between the versions or examinations of particular films as adaptations of the original stories)
  7. Lewis’ thoughts on Christmas and Christmas movies (what would Lewis think of Hallmark Christmas movies?)
  8. Lewis portrayed on film – how does this change the way he is viewed?

Again, these are only suggestions. Anything connecting Lewis’ thought with the cinema will be considered.  

Submission Procedure

Please submit a chapter proposal by March 31, 2024 which includes the following: title, abstract, and a short biography of the author(s). Proposals should be a maximum of 500 words written in English, using Microsoft Word format, Times New Roman, 12 pt. font. Please send the Word document as an attachment to the book editor (Bryan Mead, bmead@etbu.edu). Authors of accepted proposals will be notified and sent specific submission guidelines. Chapter contributions should be at least 4,000 words and will follow Chicago style (footnotes and bibliography). Submissions are welcome from early career researchers and established scholars.

If your proposal is accepted, chapter submissions will be due by September 15, 2024. Proposal acceptance does not guarantee chapter’s inclusion in the book.

Editor Information: Bryan Mead, Ph.D, is Assistant Professor of English at East Texas Baptist University where he teaches film studies, literature, and composition. He is the author of Writing in Film Studies, From Professional Practice to Practical Pedagogy (Cambridge Scholars Publishing, 2024). Bryan has also published many essays in journals such as Journal of Religion & Film, Journal of European Popular Culture, Americana: The Journal of American Popular Culture, Intégrité: A Faith and Learning Journal, and Film & History. His essays have also appeared in edited volumes such as J.R.R. Tolkien and the Arts: A Theology of Subcreation (Square Halo Press, 2021), Representations of Sports Coaches in Film: Looking to Win (Routledge, 2017), and The Arts of Memory and the Poetics of Remembering (Cambridge Scholars Publishing, 2016).

Sunday, February 18, 2024

Call For Articles: Postcolonial Interventions (ISSN 2455-6564) Call for Papers Vol. IX, Issue 2 (June 2024)



Postcolonial Interventions invites scholarly articles for an OPEN ISSUE to be published in June 2024. As this call is being circulated, the people of Palestine continue to suffer with excruciating agonies inflicted on them by Zionist imperial aggression, right-wing forces of xenophobia, discrimination and intolerance continue to gather momentum across the world, inequality and ecological crisis continue to escalate and new forms of precarity are being constantly negotiated. 


The next issue of Postcolonial Interventions seeks to explore such issues and more based on postcolonial experiences across the world.



Submission Guidelines:
1. Articles must be original and unpublished. Submission will imply that it is not being considered for publication elsewhere.
2. Written in Times New Roman 12, double spaced with 1″ margin     on all sides, in doc/docx format.
3. Between 4000-7000 words, inclusive of all citations.
4. With in-text citations and a Works Cited list complying with        Chicago Manual of Style (author-date) specifications.
5. A separate cover page should include the author’s name,                designation, an abstract of 250 words with a maximum of 5                 keywords and a short bio-note of 50 words.
6. The main article should not in any way contain the author’s name.  Otherwise the article will not be considered.
7. Reviews also need to follow the aforementioned guidelines.            However, word limit for reviews is 1500 words.
8. The contributors are responsible for obtaining permission to        reproduce any material, including photographs and illustrations         for which they do not hold copyright.

Please send all your contributions to postcolonialinterventions@gmail.com  within 30 April, 2024.